All’s Well That Ends Well at Sam Wanamaker Playhouse
In her Globe directorial debut, Chelsea Walker crafts a modern-tinged interpretation of All’s Well That Ends Well, one of Shakespeare’s most ambiguous problem plays, blending dark social satire with moments of biting humour in a fresh production that revels in the comedy of complex relationships and unspoken desires.
Ruby Bentall’s Helen, whose name is modernised from Shakespeare’s Helena, is the emotional anchor of the play. Portraying her vulnerability and obsessive nature with an endearing sincerity, Bentall captures Helen’s persistence in a manner that adds a layer of complexity to her relentless pursuit of Bertram. Her determination is uncomfortable to witness, yet Bentall ensures Helen remains a character who earns and keeps the audience’s reluctant empathy. Presented as a bisexual man navigating an ambiguous relationship with his friend and follower Parolles (William Robinson) even as he is courting Diana, Kit Young’s Bertram is equally fascinating. Young balances Bertram’s youthful arrogance, insecurities and betrayal-induced disillusionment with finesse, making a character who is as much a victim of his flaws as an antagonist to Helen. The pair’s awkward post-marriage interactions between Helen and Bertram feel strikingly novel, presenting their relationship’s uncomfortable dynamics of identity and power. This is particularly clear when Diana (Georgia-Mae Myers) enters the stage, and her chemistry with Bertram offers a stark contrast to his strained relationship with Helen. Despite having few scenes, Myers’s poise and sharp delivery also makes Diana a memorable presence within the strong ensemble.
Walker makes inventive use of the Sam Wanamaker Playhouse’s intimate, candlelit space, with actors “hiding” among the audience and Helen tearfully dashing down the narrow hallway in her wedding gown when she was made a jilted bride. Modern flourishes, like the characters’ minimalist costumes and the canned drinks Bertram shares with his friends, balances the theatre’s 17th-century painted ceilings and imbues the show with a sense of timelessness.
All’s Well That Ends’ Well excels in drawing laughter from its audiences, with each of its comedic moments landing effortlessly. However, it struggles to bring out its darker themes, as key moments, such as the French lords exposing Parolles’s betrayal of Bertram, lack emotional weight. Nevertheless, it is the character work and performances that define Walker’s production and bring new insights into one of Shakespeare’s most enigmatic plays.
Christina Yang
Photos: Marc Brenner
All’s Well That Ends Well is at Sam Wanamaker Playhouse from 22nd November 2024 until 4th January 2025. For further information or to book visit the theatre’s website here.
Watch the trailer for All’s Well That Ends Well at Sam Wanamaker Playhouse here:
Facebook
Twitter
Instagram
YouTube
RSS